Adaptations are widespread and universal.
Adaptation problems - content, structure, and intertextual politics. Hutcheon wishes to consider adaptations as lateral, not vertical. One does not experience adaptations successively starting from the original work, rather the works are a large collection to be navigated. One might see an adaptation before the original. Hutcheon also wishes to view adaptations as adaptations, not as independent works. Three ways of story engagement: telling, showing, and interactivity.
Adaptations also dominate their own media. The most heavily awarded films are adaptations.
Hutcheon suggests that the pleasure of adaptation from the perspective of the consumer comes from a simple repetition of a beloved story with variation.
To borrow Michael Alexander’s term, adaptations are palimpsestuous works, works that are haunted by their adapted texts. Hutcheon wishes to avoid resorting to fidelity criticism, which originates in the (often false) idea that the adapters wish to reproduce the adapted text. There are many reasons why adapters may wish to adapt, which can be as much to critique as to pay homage. There are three dimensions to looking at adaptations: as a formal entity or a product, as a process of creation, or as a process of reception. Adaptation is simultaneously a process and a product. Hutcheon distinguishes between adaptations and sequels and fanfiction. Sequels and fanfiction are means of not wishing a story to end. This is a different goal than the recreation done by adapting a work. There is a legal term to define adaptations as “derivative works”, but this is complex and problematic. Adaptation commits a literary heresy that form (expression) and content (ideas) can be separated. To any media scholar, form and content are inextricably tied together, thus, adaptations provide a major threat and challenge, because to take them seriously suggests that form and content can be somehow taken apart. This raises...
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